[FilmReview]TheMaid(2009)andRottingintheSun(2023)
Chilean queer filmmaker Sebastián Silva's artistic output cannot be contained in mere one form, who is also legitimately a painter and a musician. Even in his films, often he...
電影《在陽(yáng)光下腐爛》豆瓣評(píng)分高嗎?
豆瓣評(píng)分5.9分,口碑較為平庸。影片是2023年塞巴斯蒂安·席爾瓦自導(dǎo)自演的黑色喜劇。推薦觀看《杰出公民》——同為阿根廷喜劇片,以荒誕手法諷刺藝術(shù)界與名人文化。
電影《在陽(yáng)光下腐爛》在哪里可以看?
目前主流流媒體平臺(tái)暫無(wú)片源,需關(guān)注電影節(jié)展映或海外發(fā)行信息。該片為2023年阿根廷黑色喜劇。推薦觀看《荒蠻故事》——同樣來(lái)自阿根廷的黑色幽默佳作,結(jié)構(gòu)精巧且充滿諷刺。
電影《在陽(yáng)光下腐爛》結(jié)局是什么意思?(微劇透)
(微劇透)結(jié)局暗示主角在虛無(wú)與創(chuàng)作沖動(dòng)間的搖擺。影片聚焦藝術(shù)家困境與自殺欲望。推薦觀看《鳥人》——同樣探討過(guò)氣藝術(shù)家身份焦慮與自我救贖的黑色喜劇。
電影《在陽(yáng)光下腐爛》和《帕特森》比怎么樣?
兩者都描繪藝術(shù)家日常,但本片更陰郁荒誕。《在陽(yáng)光下腐爛》豆瓣5.9分,屬黑色喜劇懸疑。推薦觀看《帕特森》——同樣平靜講述詩(shī)人生活,但基調(diào)更溫暖治愈。
電影《在陽(yáng)光下腐爛》評(píng)價(jià)如何?值得看嗎?
評(píng)價(jià)兩極,適合喜歡小眾、荒誕風(fēng)格影迷。影片以藥物依賴與網(wǎng)絡(luò)紅人碰撞展開。推薦觀看《瑞士軍刀男》——同樣以古怪二人關(guān)系探討存在主義與孤獨(dú)的黑色喜劇。
電影《在陽(yáng)光下腐爛》主演喬丹·菲爾斯特曼表現(xiàn)怎么樣?
喬丹·菲爾斯特曼飾演的網(wǎng)絡(luò)紅人是亮點(diǎn),貢獻(xiàn)了神經(jīng)質(zhì)表演。影片為導(dǎo)演塞巴斯蒂安·席爾瓦半自傳式作品。推薦觀看《災(zāi)難藝術(shù)家》——同樣由當(dāng)事人出演,戲謔解構(gòu)藝術(shù)創(chuàng)作與名人文化的喜劇。
電影《在陽(yáng)光下腐爛》是什么類型的片子?
類型為喜劇、懸疑,是一部充滿存在主義焦慮的黑色幽默片。2023年上映,豆瓣5.9分。推薦觀看《龍蝦》——同樣是設(shè)定奇特、探討社會(huì)規(guī)則與孤獨(dú)的黑色喜劇。
電影《在陽(yáng)光下腐爛》劇情講的是什么?
劇情講述抑郁藝術(shù)家塞巴斯蒂安偶遇網(wǎng)紅喬丹后,合作計(jì)劃引發(fā)意外轉(zhuǎn)折。影片聚焦藝術(shù)、藥物與自殺欲。推薦觀看《紐約提喻法》——同樣描繪藝術(shù)家陷入創(chuàng)作與生活泥潭的元敘事作品。
電影《在陽(yáng)光下腐爛》適合什么樣的人看?
適合熱衷作者電影、能接受荒誕敘事和陰郁基調(diào)的影迷。影片由塞巴斯蒂安·席爾瓦自編自導(dǎo)自演。推薦觀看《寒枝雀靜》——同樣是結(jié)構(gòu)松散、充滿存在主義沉思的北歐風(fēng)格喜劇。
電影《在陽(yáng)光下腐爛》導(dǎo)演塞巴斯蒂安·席爾瓦風(fēng)格明顯嗎?
風(fēng)格顯著,延續(xù)其粗糲、即興的黑色幽默與身份探索。本片為其2023年自導(dǎo)自演之作。推薦觀看《女仆》——同為塞巴斯蒂安·席爾瓦執(zhí)導(dǎo),以尖銳幽默剖析階級(jí)與人性的佳作。
Chilean queer filmmaker Sebastián Silva's artistic output cannot be contained in mere one form, who is also legitimately a painter and a musician. Even in his films, often he is a triple threat of director, screenwriter and actor.
THE MAID is his second feature, a Sundance hit which brings him international recognition plus a Golden Globe nomination. In a Chilean upper middle class household, Raquel (Saavedra) is the trusting housemaid who has been employed for over 20 years. The film commences with her 41-year-old birthday keyed up for the celebration, her anticipation is somewhat dampened when it turns out to be commonplace, she dismisses the gift from the matriarch Pilar Valdes (Celedón), a recycled sweater.
Raquel suffers from inexplicable headaches and faint spells, which prompts the family to hire an extra maid to help her with the chores, which is against her will. She antagonizes the new ones with a frigid harshness, and her go-to antics is to lock them outside the house door and pretend not to hear them, a trick proves successful to force them resign, although the second time with a termagant Sonia (Reeves) ends up in quite a scuffle.
Audience can comprehend Raquel's territorial mindset, she firmly considers herself as a veritable member of the family, she has the privilege to pick favorite among the family's four kids. Her favorite is Lucas (Agustín Silva, Sebastián's younger brother in real life), and she doesn't see eye to eye with Camila (García-Huidobro, Celedón's daughter in real life), the eldest daughter, which is tolerated by Pilar, much to Camila's chagrin. Actually, Pilar, not relinquishing the formal address from Raquel, is very tactful in maintaining the fine balance between indulgence and reproof. She never threats Raquel with a kiss-off and keeps a wary eye on her, checking her room when she is out, and when Raquel is smite by another faint spell, the family's concern and assistance is in earnest.
The pernicious symptom of perennial servitude is that the Valdes family becomes the whole universe for Raquel, and only courtesy to Lucy (Loyola), another new maid (third time is the charm), whose capacity of empathy and ebullient spirit finally thaw Raquel's hardened defense, and show her that there are other things in life to embrace, to experience other than taking care of the Valdes family. The film winds up in a life-affirming note after another birthday and valediction, for the first time, Raquel tries to do something new, breathe in some fresh air and leave the house behind.
Shot almost entirely in the family's dwelling with medium shots and close-ups, Silva choreographs a cohesive, dynamic, organic household dramedy with an acutely felt emotional undercurrent, and Saavedra's central performance is a revelation to behold. Raquel's obduracy is a blunt instrument, her defense mechanism towards extraneous invasion. When sparks flicker in her eyes, you can sense that something is awakened in her lonesome heart, THE MAID is full of mischief and sympathy and Silva is quite a natural to the cinematic syntax and language.


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